As to COVID itself I have nothing new to say today; I found How much ‘normal’ risk does Covid represent? by David Spiegelhalter interesting.
The Wilton Diptych (right hand panel). 139x. Gets a small room all to itself. Lovely, but I wish I could stop seeing the background as the fuzzy pegboard stuff.
Christ showing his wounds. Weirdly modern-looking in structure and colour - to me - but about the same age as the diptych above. If you look at it from a distance you may not notice that his robe is rent and there's a gash in his side. The apostles coyly hide behind him in their haloes.
A fairly typical scene of St Michael defeating the devil, but a gorgeous example. The armour! The serene face! The fearsome devil! The gorgeously folded cloak! And the benefactor, unfazed, kneeling. Bartolomé Bermejo, the most important fifteenth-century Spanish painting in Britain.
Saint Veronica with the Sudarium: According to her legend, Saint Veronica saw Christ fall as he carried his Cross to the site of his crucifixion. Taking pity on him, she offered her linen handkerchief (called a sudarium) to wipe the sweat from his face. When he returned it, an image of his face was imprinted upon it. One of the many many weird ones in there; well, St Michael and the devil is pretty weird, too.
Christ being taken down from the cross. A nimble boy at the very top of the painting attempts to support Christ’s weight while clinging on to the arm of the Cross, hooking one ankle over it to prevent himself from falling headlong. Which is the bit I liked: his contorted spidery appearance and, because of his colouring, his visual identification with Christ, is good. As is the odd gilded niche in which the action is placed.
Mr and Mrs Andrews. This one is famous because it was in my school history textbook about the changing face of England in the 18th century.
The Fighting Temeraire. 1839. Massively famous, a good painting, well worth a look.
Lord Ribblesdale. 1902. Just to prove I can like things other than intricately detailed pain. Lifesize or more, hung on the wall of the mail hall.
* Landscape with the Fall of Icarus (Uffizi)